CONTEMPORARY MUSIC IN CONTEXT 2016

REPRESSION AS
EXPRESSION: GENDER
IDENTITY AND SEXUALITY
IN POPULAR MUSIC
Andrew James Lea
C3320442
Kenny Jenkins

Kenny Jenkins

Andrew Lea

Robert Walser states in chapter four, Forging Masculinity- Heavy

Metal Sounds and Images of Gender, from his book Running with
the Devil, that heavy metal often stages fantasies of masculine
virtuosity and control. Musically heavy metal articulates a
dialectic of controlling power and transcendent freedom Joan
Jett said: I grew up in a world that told girls they couldn't play
rock 'n' roll. Discuss the importance of issues of gender and
sexuality in Popular Music.

Kenny Jenkins

Andrew Lea

GENDER, SEXUALITY AND MUSIC

The terms gender and sexuality are used as the subjects of scrutiny of social and
psychological affairs in society. A lot of anecdotal evidence in Pop Culture
suggests the above terms have a significant impact upon the differences between
perception and reception of art and music. However there isnt as much conclusive
scientific evidence to explain exactly how they do so.
Gender and Sexuality as labels exhibit an interest in characteristics between
natural or biological traits of people, on one side, and, constructed fabrication,
cultural or verifiable traits on the other. As Robert Walser explains in his book
Running With The Devil that western constructions in music of masculinity
often include conflicting imperatives regarding assertive, spectacular display, and
rigid self-control. Spectacles are problematic in the context of a patriarchal order
that is invested in the stability of signs that seeks to maintain women in the
position of object of the male gaze.
Once upon a time it was believed that if, biologically, you are a female, you
should not behave like a male in and outside of music. However the year is 2016
and humans as a race are more progressive and technically advanced than ever, so
why does this attitude still thrive and why does it determine critical acclaim when
it comes to popular music?
With the study of human behaviour, it could be argued that the evolution of
humans is an accomplice for this logic. Evolutionary science has disclosed that
hormones cause people to behave in a particular manner, so it is understandable
that when it comes to gender and sexuality, and thinking differently about them as
a concept can be difficult and could be likened to going against the very fabric of
our engrained DNA. However these built in characteristics are just animal
instincts, and serve a fraction of their original use from back in the primeval times,
yet quite obvious cases of this mentality still in practice within marketing music
and its employees.

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Andrew Lea

A MASCULINE INDUSTRY
There is a level of hypocrisy when it comes to the reception of artists music and
contributions to the Music Industry. It is apparent that men and women arent
equal. PRS for Music report that their membership of over 95,000 songwriters and
composers is only 13 per cent female and AIMs 2012 membership survey
revealed that only 15% of label members are majority-owned by women. Lara
Barker (Organiser of the AIM Independent Music Awards) States in her
Huffington Post blog entry Mind The Gender Gap that statistics consistently
show that women in music earn less than their male counterparts. Although the
music industry registered to the UK Music Equality and Diversity Charter at the
beginning of 2012, there is little sign of conditions improving. Demographically
women on the music industry are doing the same as men, and are paid less than
them.
A comparison can be made from similar phenomenon of this kind can be found in
on the reception to an artists musical content, mainly lyrical and vocal content,
and seldom instrumentation or arrangement techniques. Further strengthening the
concept that genders in music are treated differently as the sound of an instrument
doesnt portray a performers sex from its sound alone. It is only when distinctive
qualities of gender are apparent to a listener do people begin to judge on more than
just merit and skill alone. The rules of social masculinity and femininity in music
are unbalanced and when it comes to content it is a matter of taste for what will
cause offense. While these rules arent formal of an artist having to adhere to,
that prevents the production of inappropriate material, featuring lyrical content
that suggests a singer isnt using their own gender pronouns or true sexual identity,
artists have rarely gone against them. When theres money to be made people are
less likely to take a risk of tarnishing a listeners perception, as first impressions
are important. When it comes to pushing boundaries, it can be detrimental to an
artists reputation, especially in the music industry that isnt to say, however, that
it hasnt been done before.

Kenny Jenkins

Andrew Lea

HYPOCRISY AND CRITICISM

Examples of reception biases are smattered throughout the history of popular
music. Emma Garland from Music magazine Noisey, highlighted in her article:
Do Songs by Female Pop Stars Always Need to Have a Feminist Message? that
inequality of criticism is particularly widespread in music and their accompanying
videos. Garland highlights how female artists can fight back against the
stereotyping by being empowering but explains how they shouldnt have to just to
be taken seriously. Garland states that music has to be more blatant to cause a stir
when referencing gender and sexuality, whereas in a music video, offensive visual
cues are easier to spot, and therefore more likely to cause resentment.
Garland says, Whether a music video by a female artist is feminist or not has
since become the primary yardstick we use to determine its value. She says that
music videos released by some of the charts biggest hitters in the last two years
have all found themselves at the centre of debates about how we present and
perceive women in general. It is observably less likely for similar situations to
arise with men. Garland accurately states that negative scrutiny isnt put upon such
artists as Kanye West for Bound 2, Drakes Hold On Were Going Home, or
Pitbull and Chris Browns Fun (all of which include highly sexualised song
content and visual iconography and are far from featuring any kinds of aspirational
message to their fans) respectively this hasnt gone unnoticed among some current
artists.
Artists have spoken out about expectations of there part as a role model for
equality and feminism. Speaking to British Vogue in 2011, Rihanna, a widely
successful singer and songwriter said: "See, people, especially white people, they
want me to be a role model just because of the life I lead. The things I say in my
songs, they expect it of me and [being a role model] became more of my job than I
wanted it to be. But no, I just want to make music. That's it.

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Andrew Lea

Garland also makes reference to this in her article. One of Rihannas tracks Bitch
Better Have My Money (also known as BBHMM) the song and video drew
mixed reviews due to its abrasive and outlandish nature the lyrics and video
imagery which included Rihanna violently kidnapping a woman, stripping her
naked, smoking weed and drinking excessively. When asked for her opinion about
the negative reaction towards this work, Emma Garland said: Compare that
[BBHMM] with Drakes video for Hold On Were Going Home - a video with a
mobster narrative in which Drake plays a kingpin whose lover is kidnapped by a
rival gang, resulting in 7 minutes of revenge, gunplay, and violence against
women - which provoked a grand total of zero negative editorial pieces. This
further implies the illogical hypocrisy of public perception, and though both works
had similar violent themes, they were received in the different ways. Drake, a male
rapper, received praise by the media while Rihanna, a female singer, was chastised
for it.
Perhaps its because its shot like a HBO drama; full of heavy shadow and green
light filter, perhaps its because its narrative of man doing anything within his
means to rescue a female love interest is one people are completely accustomed
to, or perhaps its because it came from a male rapper with no obligation to be
particularly progressive in terms of gender roles, but nobody had any feminist
theory to throw at Drake. It seems contradictory, though, that Hold On Were
Going Home wasnt subject to anywhere near as much inspection as BBHMM
when they are essentially different versions of the same video. Perhaps the
realisation that feminism is a hot key word can make money from hasnt quite
extended to men yet. Fortunately, in this instance, Rihanna has sold over 200
million records in her career and one imagines that she isnt struggling financially.
It would take a lot more than some bad press to have a damaging effect on her
reputation, marketability and net worth, however less can be said for up and
coming artists and musicians.
Garbages front woman Shirley Manson, in an article called Playing It Safe: Why
Did Music Stop Being Honest & Fearless? explains that If you pay attention to

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Andrew Lea

who wrote all the modern pop hits, you may notice some names that keep popping
up. Dr. Luke, Max Martin, Ester Dean, Pharrell Williams, Sia Furler, Bonnie
McKee, Justin Tranter. Referencing how new pop music is manufactured by the
same minds Manson says, all of these hit makers and more are the ones who
write most of todays most popular singles. They have their formulas that work,
and the hits are shopped around to the most popular singers. While these
songwriters may not be against writing about issues other than partying,
heartbreak or being in love, more highlighting the fact that successful pop music
sticks to safe topics. So many of todays most popular hits were essentially
manufactured to please the masses. The masses, in this case, and according to the
Music Consumer Gender Breakdown in Great Britain in 2014 graph shows that
the majority of music consumers in the past, present and most likely the future, are
heterosexual males. The music industry, similar to any business that manufactures
goods, markets to a target audience and is essential for monetising artists music.

Kenny Jenkins

Andrew Lea

MATERNAL MUSIC
In Sheila Whitelys Sexing The Groove Popular Music and Gender the author,
explores the ever-changing modes of expression within popular music, and in
particular, its relationship to genders and sexualities.
In Chapter 9: Female Identity and the Woman Songwriter contributor
Charlotte Greig indicates that people of all genders are free to write songs about a
variety of topics including: love and romance, heartbreak and betrayal, marriage
and relationships, infatuation and hopelessness, going out to the club etc. are
universally unisex in music in terms of lyrical content, however the topic
exclusively women can write and sing about is childbearing.
Charlotte Greig brings the subject of childbearing used in lyrics to attention in the
chapter, and reviews why there are seldom songs about giving birth. As this
experience is a hugely pivotal moment in a womans life, not having many people
sing about it seems unusual. Why doesnt anybody want to sing about the moment
they personally brought another life into the world? Greig points out that it takes a
female voice to sing such songs and that unfortunately that voice is still struggling
to be heard in the music industry. The author claims this is due to the lack of
women involved in the overall business. Helienne Lindvall agrees and states in
Behind the music: Where are the female A&Rs? that there are plenty of talented
women in music, but the people responsible for signing, developing and
promoting them are almost always men, and as a result dont take female music as
serious due to their lack of empathy for the female gender. For females to have a
better chance of breaking through with their music they are conditioned to stick to
material that is suitable to accommodate for the male dominated artist & repertoire
staff pool, hence the lack of songs written about child birth.
There are exceptions however, contrary to the previous statement, Greig did report
that there are songs about childbearing sang by females, though these are mainly
found in country music. They arent observed as anomalies in this situation due to
the story-telling nature of country songs in the genre. It is common for country
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artists who write and perform about certain experiences will do so regardless of
actually encountering them, and although Grieg lists examples of such songs there
are still not a lot.
There are a very small amount of exemptions in popular music. Some songs
performed by female artists make light references to their child bearing. Most of
them are, however, shrouded with an image or theme of common devotion, as to
cater for the wider audience. Two examples of pop songs that uphold the theory
are:

Acapella Kelis, 2010

In an interview with SPIN, Kelis explains that the lyrics of the popular
electronic dance track are very firmly about being a mother and having a
child and its about what that means and that they are symbolic to life
before bearing [her first] child, concealed by comparisons of life being a
rich symphony of positive experiences after the arrival of [her baby]
Knight.
Before you, my whole life was acapella, now a symphony is the only song
to sing
One could be forgiven for thinking this wasnt a song about childbirth.
It could be argued that this was intended, and that the creation of such an
abstract song paralleling childbearing to instruments of an orchestra, was
merely another example of song manipulated by the winning formulas
that Manson makes reference to. The only real evidence to suggest
otherwise is the artists interview and a small section in the music video that
features Kelis, wandering through the desert carrying her new born baby on
her back.

Kenny Jenkins

Andrew Lea

Take My Place Lily Allen, 2014

Lily Allen, an outspoken pop, hip-hop and RnB singer-songwriter included
this track Take My Place on her 2014 album Sheezus. The album is
laced with a diverse mix of vibrant pop hooks, snappy controversial
commentary and a fearlessly feminist perceptive outlook.
Speaking to Rolling Stone in an interview Allen states that the song is
about the death of her first child through miscarriage. The songs highly
emotional subject topic almost didnt make it onto the album. Allen said I
would have felt quite fraudulent not sharing that experience and then went
on to also made light of the situation by joking about how the song writer
she worked with, saw it as an opportunity to turn it into a pop number. The
song has a surprisingly uplifting feel and fast tempo for such a sombre
song.

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Andrew Lea

HOMOSEXUALITY AND MUSIC

Females singing about childbirth arent the only subgroup that are affected by the
alteration of their work to suit the music industry, comparable circumstances have
been reported in the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer)
community also. Critically acclaimed Def Jam singer and rapper Frank Ocean
publicly announced his previous relationships with men to his fans in 2011. Ocean
is a member of a hip-hop collective Odd Future Wolf Gang Kill Them All who
has come under criticism for the continuous use of anti gay lyrics in their music.
Frank Oceans works on his solo albums predominately reference heterosexual
relationships (with the exception of Bad Religion where he croons about how he
could never make him love Ocean). Franks usual plots within his songs, while
abstract in makeup to the average listener, are largely about Ocean and
heterosexual relationships between himself and other women. Although it has been
said in an interview with Huffington Post, that Ocean is aware of the lyrics, and
that he doesnt deem them offensive, however, one cant help but observe this as
another element aiding the correlation between sexuality in musical content and its
lack of positive campaigning for equality to satisfy the consensus.
Openly gay singer song writer Sam Smith said in an interview with Best Line Of
Fits Emily Tan, that the video for the slow burning electronic anthem Latch was
meant to symbolise about all forms of love and relationships. The video portrays
various people of varying ethnicities, age and physique becoming intimate with
one another. There are several scenes of different males interacting romantically
with females, and females with other females, yet there werent any scenes
displaying a homosexual relationship between two males. When asked about the
making of the music video Smith loosely claims that he felt pressured a little bit.
[he has] gotten into the music industry with this, but now how do we stay safe.
While this doesnt explicitly declare that there was a decision to not use male
homosexual relationships in the video, it does seem unusual that it didnt make the
cut for a work that symbolises all forms of love and relationships.

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Andrew Lea

The lack of diversity of sexuality in music has had a detrimental impact on the
struggling nightlife and entertainment industry.
The lack of reference to other relationships than heteronormativity is discouraging
members of the LGBTQ community from getting involved with nightlife culture.
The music industry is plugging social ideals into the clubbing environment that
arent to everyones taste, and therefore turning music and its environments into a
monotonous rat race according to DJ Sprinkles.
DJ Sprinkles, real name Terre Thaemlitz, is a trans female disk jockey, musician
and public speaker. In an article titled DJ Sprinkles: Music is the least interesting
thing about clubs Thaemlitz calls out the current lack of gender and sexual
identity references within the music played at clubs.
There is a historic connection between queerness and deep house, and also things
like transgenderism and vogue, that, to me, was really important and its utterly
absent. Moreover she claims that its not just about the music having broader
appeal:
It has to do with this cultural shift away from the necessity to actually have clubs
function as safe spaces for different types of sexual enactment.
With the lack of different sexualities included in music that is broadcast to club
revellers, virtually makes them non-existent and in result the need for a club to
obtain a safe space policy (a code of conduct implemented by music venues that
encourage a zero tolerance approach to discrimination, homophobia or other
related hate crimes) is diminished.

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Andrew Lea

FORGING MASCULINITY
Referring back to Robert Walsers statements in Forging Masculinity, he says that
in heavy metal music it is shaped by the discourse of patriarchy and attempts to
maintain females and femininity as entities designed exclusively for the male gaze.
Evidence of this and similar manipulation in music, show that comparable
principles are applied within other genres of contemporary music.
In a John Peel Lecture in 2013, Charlotte Church, a highly lauded childhood
classical singer, who has since changed musical directions stated that there are 3
main roles women to fill in the music videos of contemporary music.

The Unobtainable Sex-Bot

Church says that this is the most commonly employed and most damaging
archetype. These women are are encouraged to present themselves as hypersexualised, unrealistic, cartoonish sexual objects, reducing female sexuality to a
prize that can be won. (Fergie in Fergalicious, Shakira in She Wolf, Nicki
Minaj in Anaconda)
The Sexy, Torch-Singing Victim

The torch singer is described as a girl who is often depicted as being consoled by
her girl friends who help het to get over the evils done to her by a man, which is
often glorified as empowering while maintaining her sexuality to do so. (Beyonc
in Why Dont You Love Me, Miley Cyrus in Wrecking Ball, Britney Spears in
Baby One More Time)
The Not-So-Sexy, Torch Singing Victim

Church declares that, though this category appears less frequently, popular Soul
and RnB singer Adele falls into this category. Adele is known for not using her

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sexuality to see her records, however, lyrically her songs are almost without
exception written from the perspective of the wronged woman someone who has
been let down by the men around her and in a perpetual state of despair

Liberal feminists argue that women utilise these kinds of character roles for their
own gain. Such artists would be happy to flaunt their bodies, playing the role of
the male gaze item, as long as it means they sell records. However in an article
named Female Sexuality in Music: Empowered or Objectified? upholds that
radical feminism believes that such actions are pawns used to support the very
industry that they inaccurately claim to dominate.
Joan Jett, an American female rock singer, songwriter, composer, musician and
actress in 2001 said to the Sydney Morning Herald that she grew up in a world
that told girls they couldn't play rock 'n' roll. She said, My parents taught me I
could be anything in the world I wanted to be. That made me confused. I figured
out it was a social thing, what women were allowed to do. She took a stance
against this and stated, At a very young age, I decided I was not going to follow
women's rules. Her idols were all male but that didnt stop her from being a
female rock star. Speaking to Rolling Stone magazine she said her initial and
continuing inspiration was the British early-Seventies glitter-pop of T. Rex, Gary
Glitter, Slade and David Bowie, whose tough stance Jett most closely emulated.
Jetts determination inspired many artists to go against the social construct in
music and even use the repression experienced as form as expression in their
work.

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Andrew Lea

REPRESSION AS EXPRESSION
When second wave feminism in the 1960s presented an innovative outlook of
thinking for issues affecting various subdivisions of women, artists began to
include liberal and radical feminist themes in their music. By the 1970s iconic
female artists such as Cher, Donna Summer, Grace Jones and Chaka Khan were
introducing a new wave of sexual liberation to popular culture by experimenting
with sexuality in music.
Cases of contemporary artists who use their experiences with inequality as the
muse for their works have become increasingly more apparent in the 21st century.

Just a Girl - No Doubt, 1995

Gwen Stefani wrote the classic alternative pop rock track Just A Girl
because she wasnt allowed to do certain things in her life because she was
female. Stefani claims that the song wasnt intended to have such an impact
among females, and was in fact a song she wrote out of anger from arguing
with her father. Upon listening, people could relate to the track with their
own experiences and recognised that there were still many misogynistic
stereotypes portraying women as feeble and helpless within popular
culture.

Formation Beyonc, 2016

Globally successful R&B, soul, pop and hip-hop singer,
Beyonc, released a politically charged track called
Formation. The track includes themes of police brutality,
racism and gun violence which attracted unenthusiastic
reviews from critics who labelled it an anti-police song
because of the poignant images of the Black Panthers, a
socialist, militant group in 1966 formed to counteract the

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US government and the authorities used in the

accompanying video.
Apart from being laced with political topics, the song also
includes bold verses about sexuality. Lyrical content of hiphop and rap artists have been notorious for the use of
misogynistic and objectifying notions, however in
Formation, Beyonc seemingly turns this on its head in
the second verse of the song:
When he fucks me good, I take his ass to Red Lobster. If he
hits it right I might let him take a flight on my chopper. Ill
drop him off at the mall, let him buy some jeans, let him
shop up
Illustrating a male as sexual objects who, if performs to her
satisfaction, will be treated by being allowed to shop for
clothes. This lyric also suggests that the male in the story
will be spending her money, a reference to the
representation of males being the breadwinners and that
females need to depend on them.

Wannabe Spice Girls, 1996

The lyrics, which address the value of female friendship over the
heterosexual bond, became an iconic symbol of female empowerment and
the most emblematic song of the group's Girl Power philosophy. This
year saw the feminist smash hit parodied by Global Goals not-for-profit
media group Project Everyone. The video featuring girls from all over
the world, brazenly promotes the termination of unequal pay, restricted
access to education, forced marriage and violence against women. The film
used social media to encourage women around the world to share photos of
themselves with the #WhatIReallyReallyWant hashtag, holding up signs
asking for the things that they want for girls and women. The video went

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viral when former Spice Girl Victoria Beckham shared it online and has
since accumulated over 1.7 million views.

CONCLUSION: RETROSPECTIVE AND PROSPECTIVE

Gender and sexuality issues in the music industry are substantially affecting
people in and outside of the industry. Whether it materialises in the form of
suppressed musicians and artists who feel unable to express themselves honestly
and respectably, or young impressionable music consumers who are constantly
subjected to unrealistic portrayals of women in life and how they are behaved
towards who in turn are left unaware to thinking in a more progressive way
towards gender and sexuality.
When imagining a world where popular music doesnt harbour over-sexualisation
just to exist, one begins to wonder about the possibility of attracting more artists
(in all forms) to the music industry, and what kind of music isnt being made and
released because of that.
One cant help but wonder if people were exposed more to liberal principles and
inspired to contribute to the economy of the music industry, just how beneficial
that could be to music as a whole. This isnt to say that the notion of universal
cooperation in music will never happen; today, people are working hard towards
this goal by pushing boundaries in music and society with positive steps.
For example:
The Sisterhood, a female only music venue debuted at Glastonbury this
year that was described as by the organisers as a revolutionary clubhouse
open to all people who identify as women.

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SIRENs female music collective who have a mission to change the face of
white, male, cisgender dance music by creating, managing and performing
at their own events with entirely female staff.
The increasing trend of several female artists and musicians who are now
refusing to play the role of the distressed torch singer in their art and are in
pursuit of driving the 3 main roles women have in music to be
unnecessary.

However, it should be noted that these issues have been inspiration for many of
todays commemorated artists. If repression as expression was made redundant
the fight for equality would no longer be seen as a topic sing about in popular
music and would also see a fall in the release of feminist anthems as consequence.
One also cant help but wonder if some of the soul, (which some artists claim to
work so hard on pouring into every recorded second of their music) would
dwindle with it?
As is said in Ice Cream Camelot: We are the sum total of our experiences.
(Neblett, 2013) Experiences undoubtedly stimulate humans to create. While an
extreme example with todays society being as far away from worry-free as
comprehensibly possible, a perfect world could recede the meaning and purpose of
all emotional art forms.
However, when looking at the bigger picture, the eradication of emphasised
differences in gender and sexuality in music would inevitably mean a reduction in
adverse reaction to music or music videos and likely benefit the infrastructure of
everyone inside and outside of music and the music industry.
BBC Radio 4s Womans Hour Radio Host Jane Garvey asked Charlotte Church
in her John Peel Lecture:
At the end of the day this is about making money and theres nothing wrong with
making money what do we do about that?
To which Church replied, I dont have the answers, I just want to pose the
questions in hopes that people talk about it.

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Which reflects the concept of this essay. Gender and sexuality issues in
contemporary music are important because they create conversation and
conversation is the first step towards a moral solution to inequality, misogyny,
objectification, abuse, discrimination and any other injustices arising today.

WORD COUNT: 4606

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